Leridon Prize attributed to Beya Gille Gacha and Adejoke Tugbiyele

The Leridon Prize was awarded on October 10, 2019 by Gervanne Leridon at the BISO Biennale Internationale de Sculpture of Ouagadougou.

Gervanne Leridon surrounded by members of the BISO Jury – Biennial International Sculpture of Ouagadougou

Congratulations to the two winners: Beya Gille Gacha and Adejoke Tugbiyele!

Created at the initiative of the Burkina Faso photographer Léon Nyaba Ouedraogo and the contemporary art sales manager of the Piasa house, Christophe Person, the first edition of the Biennial International Sculpture of Ouagadougou (BISO) is held from October 6 to November 15th 2019.

Born from a Cameroonian mother and a French father, Beya Gille Gacha uses beads inspired by the Bamileke tradition to cover her sculptures. Her series of ORANTS questions the themes of childhood and education. In ORANT # 5, a child breaks the concrete floor to reveal the earth and plants three highly symbolic and fertile trees: Shea, Nere and Bamboo. The artist wanted to recall the visionary word of Thomas Sankara, who instituted planting a tree at every great event. Breaking the framework imposed by education and society, this child dares to take his place in society and creates a new future, placing environmental and ecological issues as priorities.

ORANT #5, 2019 Dimensions variables ©Beya Gille Gacha
Illustration photo of the article: https://www.jeuneafrique.com/840619/culture/burkina-faso-ouagadougou-accueille-la-premiere-biennale-de-la-sculpture-du-continent/?fbclid=IwAR2JztG51YM-IRH016GDBQmvXoMuQrROZs_1sD1bnQeUVZLQz6AE61J0TaU

Born in the United States and raised in Nigeria, Adejoke Tugbiyele is a committed queer artist. Her works celebrate the diversity, sexuality and individuality of black women and minorities, calling for a better balance between the sexes. Traditional brooms – historically associated with women – are transformed into lines and shapes that celebrate the essence, beauty and strength of women. Inspired by the vision and legacy of Thomas Sankara and his women’s liberation movement, the sculpture titled “Angel” suggests the presence of bi-spiritual beings full of feminine energy who may present themselves as divine angels.

Untitled, 2019. Dimensions variables ©Adejoke Tugbiyele
(détail) Untitled, 2019. Dimensions variables ©Adejoke Tugbiyele

Willie Bester’s “For those left behind” artwork at the Rupert Museum

From may 18th 2019 to May 10th 2020, the Rupert Museum of Cape Town is presenting The Cape Town Trienniale, an exhibtion that brings together a selection of contemporary artists having participating to this event since the beginning. The exhibition mix every artwork exhibited during the Triennale as well as some more recent works from those same artists. All selected artists interrogate and work aroung socio-political subjects.

Exhibition view – « Africa Remix», 2005 ©universes-in-universe

In this framework, the Collection Leridon lends the artwork “For those left behind” created by Willie Bester in 2003 and then exhibited in “Africa Remix” in 2005.

Matthias Leridon in Willie Bester’s studio ©Elodie Gregoire
Willie Bester in front of “For those left behind” artwork during The Cape Town Triennals ©Rupert Museum

Willie Bester’s work is influenced by social consciousness. He is inspiring from the forgotten in order to create strong, figurative and audacious artworks.

« My art must be taken as a drug with an unpleasant taste to awaken consciences.” says the artist. Rooted in the “Resistance Art” movement, his job is to make viewers reflect on the injustices of his country.

Exhibtion view – « The Cape Town Triennals » ©Rupert Museum


“For those left behind” follows a previous artwork made in 2001 and entitled “Dogs of War”. These two sculptures refer to the August 2001 scandal surrounding the North East Rand police dog unit in Johannesburg, which shocked South Africa as a whole. The case concerned three Mozambican migrants assaulted by the dogs of the police group, who voluntarily launched them. Willie Bester then decides to represent one of the attackers accompanied by his dog. The materials used allow him to transcribe the fright of this episode and in a certain way, to dehumanize it.

Exhibited artists : Marion Arnold, Deborah Bell, Willie Bester, Steven Cohen, Keith Dietrich, Philippa Hobbs, Sfiso KaMkame, William Kentridge, Karel Nel, Stanley Pinker, Peter Schütz, Helen Sebidi, Penelope Siopis et Diane Victor.

Artworks from the Collection presented at Natixis Wealth Management

The works in the collection are regularly presented in France and internationally.
At Natixis’s office, Gervanne and Matthias Leridon have decided to exhibit some symbolic works that show all the power of two countries that are very dear to them: the Democratic Republic of Congo and South Africa.

In the firt ground: Rigobert Nimi, Prédator, 2014
In the back ground, left to right, Kudzanai Chiurai, Revelations V, 2011
Shula, Course médiatisée, 2013

“Two-headed collection with multiple favorites, the DRC with Kinshasa and South Africa are undoubtedly our two adoptive countries in Africa. “To live in Kin” is to dive into an Africa living at the speed of light for art and creation. Here artists invent the world of the 21st century, they build the cities of the future by stacking tubes of toothpaste and urban debris. Kinshasa is the artistic capital of Central Africa shining on the rest of the continent. Since the painters of street signs, this capital continues to provoke and remains an unparalleled springboard still today. The DRC is art giving life. ” 

We had the chance to meet and develop a deep personal relationship with Nelson Mandela and F. W. de Klerk, which is why South Africa is our second home. In this great, huge country, the power of artistic creation is shaping the contours of a new democracy. South Africa has shown, shows and will show ways of humanity and modernity that transcend the wounds of a past or present. And, we have chosen to present tonight South African artists who, by their diversity, illustrate the plurality of this new democracy. “

Left to right: Chéri Samba, L’espoir fait vivre, 1989
Athi-Patra Ruga, Azania in waiting CIRCA 2008-2009 (NIHIL REICH), 2017
Gervanne et Matthias Leridon in front of the Jesus H. Christ of Kendell Geers, 2015

Were exposed:

  • Athi-Patra Ruga, Azania in waiting CIRCA 2008 – 2009 (NIHIL REICH), 2015
  • Bodys Isek Kingelez, Kin Star, 2010
  • Cameron Platter, Unity in Diversity, 2013
  • Camille-Piere BODO Pambu dit Bodo, Avec l’argent on peut toucher le monde, 2007
  • Chéri Samba, Barack Obama, 2010
  • Chéri Samba, L’espoir fait vivre, 1989
  • David Goldblatt, Schoolboy, Hillbrow, 1972
  • David Goldblatt, Shop Assistant, Orlando West, 1972
  • Eddy Kamuanga Ilunga, Sans titre, 2018
  • Freddy Tsimba, Silhouette effacée 490, 2014
  • Jean-Bosco Mosengo dit Shula, Course médiatisée, 2013
  • Kendell Geers, Jesus H. Christ, 2006
  • Kudzanai Chiurai, Revelations V, 2011
  • Mega Mingiedi Tunga, Ne pas regarder et regarder, 2016
  • Nicholas Hlobo, Nalo ikhwezi alinyulu, 2015
  • Rigobert Nimi, Prédator, 2014
  • Willie Bester, Water Pump, 2006

Kamuanga’s painting “Entre nous» exhibited at the Vestfossen, Norway

From May 4th to September 21th, the Vestfossen Kunstlaboratorium, Norway, present “Kubatana”, an exhibition curated by Kristin Hjellegjerde.

Affiche de l’exposition Kubatana au  Vestfossen Kunstlaboratorium

Kubatana is a term in shona language in the Zimbabwe traduced by the curator as “togetherness”. This word seems to Kristin Hjellegjerde during a trip in Africa where she met artists and note “They work together, help each other, and build and share studios, mentoring their peers and inspiring their children and the next generation of young artists.”

The curator invites the public to discover this fraternity thought the visions of thirty for artistes from nineteen Africans country. “Kubatana” proposed a rich selection of productions with different mediums and styles.

For this exposition, the Leridon collection is pleased to lend “Entre nous”, a painting by Eddy Kamuanga a Congoleses artist produced in 2015.

Vue d’installation – Entre nous, 2015, Acrylique et huile sur toile, 180 x 200 cm ©Eddy Kamuanga Ilunga. Credit photo: Vestfossen Kunstlaboratorium
 
 

Gervanne and Matthias Leridon met Eddy Kamuanga around five years during a trip to Kinshasa (Democratic Republic of Congo) when he was 22 and realised his first exhibition. Without artifices, the artist explained his research about his original country and the history of the Mangbetu people, a population from Sudan south living in the north of the Congo.

The first thing which marked them was the mix between the modernity of the production and the artist’s search who tried to found his origins thanks to his meeting with Mangbetu people.

The integrated circuit drawing in the dark figures are like rhizomes, some roots growing. The artist mixed traditions (symbolic objects, rituals of Mangbetu people) and pop culture forms (fluorescent fabric) using actual numeric imagery. He represents women with hidden faces, often hunched, in currents scenes lived by Mangbetus peoples like the shame and loneliness, to enable to remember at the young African generation prey to his identity, the importance of his traditional history. He peis tribute to the woman as vector of the transmission of traditions, in particular his mother who supported alone her entire family with her sandal business.

Entre nous, 2015, Acrylique et huile sur toile, 180 x 200 cm ©Eddy Kamuanga Ilunga, courtesy collection Gervanne & Matthias Leridon

Artists exposed:

Dawit Abebe (Ethiopia), Aboudia (Côte d’Ivoire), Igshaan Adams (South Africa), Leonce Raphael Agbodjelou (Republic of Benin), Amina Agueznay (Morocco), Lhola Amira (South Africa), Joël Andrianomearisoa (Madagascar), Younes Baba-Ali (Morocco), Yassine Balbzioui (Morocco), Takunda Regis Billiat (Zimbabwe), Armand Boua (Côte d’Ivoire), Lizette Chirrime (Mozambique), Gerald Chukwuma (Nigeria), Serge Attulowei Clottey (Ghana), Ibrahim El-Salahi (Sudan), Gabrielle Goliath (South Africa), Eddy Kamuanga Ilunga (Democratic Republic of Congo), Cyrus Kabiru (Kenya), Abdoulaye Konaté (Mali), Gonçalo Mabunda (Mozambique),  Ibrahim Mahama (Ghana), Troy Makaza (Zimbabwe), Zanele Muholi (South Africa), Wycliffe Mundopa (Zimbabwe), Niyi Olagunju (Nigeria), Sadikou Oukpedjo (Togo), Cinga Samson (South Africa), Amadou Sanogo (Mali), Ephrem Solomon (Ethiopia), Sanlé Sory (Burkina Faso), Khadidiatiou Sow (Senegal), Pamela Phatsimo Sunstrum (Botswana), Moffat Takadiwa (Zimbabwe), Billie Zangewa (Malawi).

Mega Mingiedi at the Museum Joanneum of Graz and at the Kunsthalle of Tubingen, Germany.

From September 22th 2018 to January 27th 2019, the Museum Joanneum in Graz, Austria has presented the exhibition « Congo Stars ». From March 9th 2019 to June 30th 2019, the exhibition will be hosted by the  KUNSTHALLE TÜBINGEN.

In this framework, a diptych created by Mega Mingiedi is loaned by Gervanne and Matthias Collection.

Poster of “Congo Stars” exhibition

“Congo Stars” exhibition showcases contemporary Congolese artists most representative of the national landscape from the 1960s. Split into six themes (exploitation, mythology/spirituality, bar, public stars/heroes, market/streets/urban space), the exhibition takes as a guide the chronology of important events in the history of the DRC (Democratic Republic of Congo).

Mega Mingiedi is a very committed artist in his society. He is an active member of the collective Eza-POSSIBLES Kinshasa, a group of artists whose objective is to make contemporary art closer to the reality and daily life of Kinshasa.

View of the exhibition at Museum Joanneum. At the forefront the artwork “Mobutu” of Mega Mingiedi. ©Universalmuseum Joanneum / N.Lackner.

His work focuses on urban space and the place of citizens in the city. It is therefore natural that his works integrate the chapter “STREET” of the exhibition.

Mobutu, 2018, Mixed media (collage, pen, pencil, chineese ink) on paper
©MegaMingiedi, Courtesy Collection Gervanne & Matthias Leridon

Mobutu (2018) is a diptych he describes as focusing on the reign of dictator Mobutu Sese Seko (1965-1997). According to Mingiedi, this is the only political figure who would have had the opportunity to change the situation for the Congo. Unfortunately, his own pharaonic and ill project adapted to the needs of the country, turned against him. For this reason, according to the artist, he can be considered as a figure who has greatly contributed to the crisis that is now reducing the DRC to chaos and ruin.

Kabila Mzee, 2018, Mixed media (collage, pen, pencil, chineese ink) on paper
©MegaMingiedi, Courtesy Collection Gervanne & Matthias Leridon

His work “Kabila mzee” (2018) deals with the former Congolese head of state, Laurent-Désiré Kabila. “Mzee” literally the Old Man, the Sage, is considered as a “national hero” in Congo. This section of the diptych is about the mystery of the end of his reign.  This process that led to it begins well ahead with the legacy left by Europeans but also African predecessors. The artist thinks that it is by getting interested in this inheritance that one will be able to reach the truth and overcome the confusion of the contradictory versions concerning the assassination of Kabila father.

All artists presented in this exhibition:

Alfi Alfa (Alafu Bulongo), Apollo, Prince Badra, Sammy Baloji, David N. Bernatchez, Kiripi, Gilbert Banza Nkulu, Chéri Benga (Hyppolite Benga Nzau), Junior Bilaka, Bodo (Camille-Pierre Pambu Bodo), Claude Bosana, Dominique Bwalya Mwando, Chéri Cherin, (Joseph Kinkonda), Trésor Cherin, (Nzeza Lumbu), Revital Cohen et Tuur Van Balen, Revital Cohen, Edisak, Ekunde (Bosoku), Sam Ilus (Mbombe Ilunga), Jean Kamba, Eddy Kamuanga Ilunga, Kasongo, Jean Mukendi Katambayi, Kayembe F, Aundu Kiala, Bodys Isek Kingelez, Ange Kumbi, Hilaire Balu Kuyangiko, Lady Kambulu, Gosette Lubondo, Lukany, Ernest Lungieki, George Makaya Lusavuvu, Tinda Lwimba, Mah Magoah, Développement Mani, Maurice Mbikayi, Mbuëcky Jumeaux (de Mbvecky Frères), Micha JP Mika (Jean Paul Nsimba), Mega Mingiedi Tunga, Moke (Monsengo Kejwamfi),Moke-Fils (Jean Marie Mosengo Odia), Mson Becha Shérif Décor, Musondo, Vitshois Mwilambwe Bondo, Nkaz Mav, Vincent Nkulu, Chéri Samba (Samba wa Mbimba N’Zingo Nuni Masi Ndo Mbasi), SAPINart (Makengele Mamungwa), Monsengo Shula , Sim Simaro (Nsingi Simon), Soku Ldj, Maître SYMS (Bayangu Mayala), Marciano Tajho, Tambwe, Tshibumba Kanda Matulu, Pathy Tshindele Kapinga, Turbo..

Richard Mudariki at Zeitz MOCAA, Cape Town

The Cape Town Museum of Contemporary Art Africa (Zeitz MOCAA) is hosting the exhibition “Five Bhobh Painting at the End of an Era” from September 12th, 2018 to May 31th, 2019.
The exhibition brings together 29 artists from Zimbabwe.

In this framework, Collection Leridon lends it’s artwork “Patriotic Stereo Tape”  created by Richard Mudariki.

Five Bhobh– Painting At the End of an Era” ‘s catalog first cover

Curator Tandazani Dhlakama explains the exhibition: “, Five Bhobh (five dollars from Zimbabwe) is the average fare for traveling locally in kombi, a kind of minibus. In this exhibition, the artists are seen as the passengers of a kombi representing the nation of Zimbabwe.

The twenty-nine artists on display are on their way to a new era and are contemplating through their windows the past they are abandoning, the one in which President Mugabe was still here.

« The exhibition shows how artists have captured this historic moment, their anticipation, their anguish, and their hope, no matter who you are or which party you support. »

Among these “travelers”, we find the artist Richard Mudariki whose latest works presented all revolve around the same subject: that of the possible political reform in his country.

View of the exhibition
“Five Bhobh: Painting at the end of an era”, ©Zeitz MOOCA

I grew up in the 90s with Tupac tapes and a Walkman.”
This memory of mixed childhood and his present concerns inspired Richard Mudariki the work Patriotic Stereo Tape. When the visitor approaches this work, the Zimbabwean national anthem begins to sound and an old cassette rolls around asking: “Will the leaders go ahead quickly or go back and replay what’s going on? has happened before?”

Patriotic Stereo Tape, 2018, Acrylic on canvas. Richard Mudariki, Courtesy Collection Gervanne & Matthias Leridon. Credit Photo: Zeitz MOCAA

29 artists part of the exhibition:

Admire Kamudzengerere (Zimbabwe) Anthony Bumhira (Zimbabwe) Berry Bickle (Zimbabwe) Charles Bhebe (Zimbabwe) Cosmos Shiridzinomwa (Zimbabwe) Duncan Wylie (Zimbabwe) Gareth Nyandoro (Zimbabwe) Gillian Rosselli (Zimbabwe) Greg Shaw (Zimbabwe) Helen Teede (Zimbabwe) Isheanesu Dondo (Zimbabwe) Janet Siringwani-Nyabeze (Zimbabwe) John Kotzé (Malawi) Kresiah Mukwazhi (Zimbabwe) Kudzanai-Violet Hwami (Zimbabwe) Kufa Makwavarara (Zimbabwe) Mostaff Muchawaya (Zimbabwe) Misheck Masamvu (Zimbabwe)
Percy Manyonga (Zimbabwe) Portia Zvavahera (Zimbabwe) Rashid Jogee (Zimbabwe) Richard Mudariki (Zimbabwe) Shalom Kufakwatenzi (Zimbabwe) Simon Back (Zimbabwe) Tatenda Magaisa (Zimbabwe) Tawanda Reza (Zimbabwe) Thakor Patel (India) Troy Makaza (Zimbabwe) Wallen Mapondera (Zimbabwe)

« Rebirth of the Black Venus » of Billie Zangewa exhibited at Le Transpalette, Bourges

The SOFT POWER exhibition, curated by Julie Crenn brings together textile works of international artists. This idea results from a desire, that of putting in space the synthesis of a doctoral research conducted by the curator between 2007 and 2012 at the University of Bordeaux.

“Textiles create a break around and through the notions of amateur, art and craft, throwing the words themselves into crisis – akin to a crisis of identity. BRYAN-WILSON, Julia. Fray: art + textile politics. The University of Chicago Press, 2017

[From the deconstruction of masculinities to the clash of classes, through the empowerment of modes of representation or the displacement of ancestral craft practices, artists inject through their threads and fibers their stories, their experiences and their critical steps. Through a generous corpus of artists, an extensive geography and a plurality of textile mediums, three issues both distinct and complementary are explored in the exhibition: History and representation of black bodies, the experience of the exile and the expression of feminist commitments through visual art. ]

Julie Crenn

The Rebirth of the Back Venus, 2010 Tapestry on silk,  135 x 100 cm. ©Billie Zangewa courtesy Collection Leridon

Artists presented: Ghada Amer – Raymonde Arcier – Babi Badalov – Rina Banerjee – Raphael Barontini – Louise Bourgeois – Yto Barrada – Cathryn Boch – Shadi Ghadirian – Leo Chiachio y Daniel Gianonne – Aurélie Ferruel & Florentine Guédon – Jérémy Gobé – Hessie – Suzanne Husky – Kimsooja – Kapwani Kiwanga – Senzeni Marasela – Marie-Claire Messouma Manlanbien – Lucien Murat – Hassan Musa – Sara Ouhaddou – Athi Patra Ruga – Yinka Shonibare – Skall – Joana Vasconcelos – Aurélie William Levaux – Billie Zangewa.

Artwork “Azania in waiting CIRCA 2008-2009 (NIHIL REICH) » by Athi-Patra Ruga on view at Somerset House, London

 

 

 

 

 

Athi-Patra Ruga, a multidisciplinary artist of contemporary fashion and art, questions notions of identity, alienation, a symbiosis between body and mind. His performances, videos, photographs and textile creations take viewers into subversive and fantastic universes tinged with provocation and eroticism.

Athi Patra-Ruga uses a protean form of writing to create a world where South African traditions have met queer aesthetics, where ancestral mythologies combine with the artifacts of the festival, cheap accessories and irresistible recklessness. .

Azania in waiting CIRCA 2008-2009 (NIHIL REICH), 2015, Wool and Thread on tapestry canvas, 200 x 220 cm ©Athi-Patra Ruga courtesy Collection Leridon

Azania is populated by baroque and sexy characters, most often incarnated by the artist himself, who affirm an identity, a body, a positioning in the world and in history. A territory that brings together all those who do not wish to belong to a specific community, but rather to the human race as a whole.

The artist creates a utopian zone where everything that is traditionally separated comes to hybridize and cohabit: savant-popular, art-craftsmanship, body-mind, man-woman, profane-sacred. The constituent signs of a kingdom (coats of arms, knights, queens, and kings) are associated with folklore, religion or fashion. Azania is a promised land, a poetic and political reaction to the manifestations of the survival of apartheid.

Flagship artist of the South African scene, her works are presented at major international events such as the 55th Venice Biennale in 2013 or the Biennale of Contemporary Art in Dakar in 2008.
Athi-Patra Ruga has exhibited at many fairs, biennials, and exhibitions. On the occasion of 1-54 in London, the Somerset House in London hosts the first major exhibition of the artist in the United Kingdom.

Athi-Patra Ruga, Night of the Long Knives I, 2013. ©Athi-Patra Ruga and WHATIFTHEWORLD courtesy Collection Leridon

Michele Mathison’s artwork on view for the Norval Foundation’s opening

©Norval Foundation

The long-anticipated opening of the Norval Foundation in Cape Town is set for 28 April 2018!
The new centre for art will be a research and exhibition space for 20th and 21st-century artworks, as well as a platform for music and cultural expression. Housed in world-class facilities, the foundation includes a sculpture garden, outdoor amphitheatre, purpose-built exhibition spaces, a research library, a restaurant and bar, a shop and a children’s playground.

Within the framework of this opening, Collection Leridon is pleased to loan Michele Mathison’s installation Kakiebos.

 

 

Kakiebos 1 & 2, 2017.
Steel, brass & granite (Rustenbueg, African Red), 180 x 30 x 30 cm ©Michele Mathison, courtesy Collection Leridon

(Detail) Kakiebos 1 & 2, 2017.
Steel, brass & granite (Rustenbueg, African Red),  ©Michele Mathison, courtesy Collection Leridon

 

 

 

 

 

 

 

 

 

Michele Mathison was born in Johannesburg, South Africa and raised between Harare and Bulawayo, Zimbabwe. At present, he lives and works between Zimbabwe and South Africa, practising as a sculptor.

He completed a Bachelors of Fine Arts at Michaelis School of Fine Arts, University of Cape Town in Cape Town, South Africa in 2000. Having grown up in Zimbabwe, Mathison draws inspiration from ordinary objects associated with southern African life, converting them into his sculptural pieces. He often works with ceramic, resin and steel as well as various found objects which he reconstructs to highlight their multi-faceted symbolic values, uses and qualities.

He often uses farming tools such as hoes, spades and picking axes in his sculptural works, to explore their power and historic influences. In an interview with Between10and5, Mathison states the following, “I find that I am attracted to artisanal trades. I find beauty in craftsmanship and construction in occupations such as carpentry, metalwork and construction. I respect the precision and skill of the people who design and manufacture the world around us. This plays a major role on my work because I am seduced by the form and function of the objects I use.”

Finding inspiration in markets, hardware stores and roadsides, Mathison’s interests extend to source from pockets of lived experience, as found in the spaces in which people work, eat and socialise, as he continues to proclaim in the interview, “Where there is life.”

Notable solo exhibitions include: EXIT/EXILE at Nirox Projects (Johannesburg: 2011); Manual at WHATIFTHEWORLD (Cape Town, South Africa: 2014); Harvest at the Zeitz MOCAA Scheryn Pavilion (Cape Town: 2015) and Uproot at Tyburn Gallery (London, United Kingdom: 2016). His work featured in the following group shows: Dudziro, Zimbabwe Pavilion, 55th Venice Biennale (Venice, Italy: 2013); Public Sculpture at Arts on Main (Johannesburg, South Africa: 2014); Broken English at Tyburn Gallery (London, United Kingdom: 2015) and Negative Space at WHATIFTHEWORLD (Cape Town: 2016).

On the occasion of Soeurs Chevalme’s first solo show in Italy, the Collection is happy to lend two artworks.

 

Delphine & Elodie Chevalme. 
Sisters, visual artists, graphists and illustrators. Saint-Denis, février 2018 ©Les Soeurs Chevalme

Exhibition”Un nouveau regard”
From March 16th to April 15th, 2018
In the framework of the Mois de la Francophonie, the Alliance Française of Vallée d’Aoste invites Les Soeurs Chevalme to present their work.

 

Flavien, 2014, from the series “Greffes de l’histoire, histoires de griffes”. Acrylic on paper, 100 x 150 cm © Les Soeurs Chevalme, courtesy Collection Gervanne et Matthias Leridon

Élodie and Delphine Chevalme  appropriated and combined in a colorful and humorous way the French  fashion with the “Sape”, famous noisy exuberance of African dandies. Two  worlds distant from each other which meet on the occasion of the series “Greffes de l’histoire, histoires de griffes” ( Grafts of history, claw stories) , project  that the artists develop during a residency in Brazzaville, Congo in 2012. This series highlights the links woven by history.

 

Friedrich, 2014, from the series “Greffes de l’histoire, histoires de griffes”. Acrylic on paper, 100 x 150 cm ©Les Soeurs Chevalme, courtesy Collection Gervanne et Matthias Leridon

"Friedrich" sur les murs de l'Alliance Française de la Vallée d'Aoste, Italie. Vue d'exposition
“Friedrich” on the Alliance Française walls, Italie.

Alliance Française of the Vallée d’Aoste
3 rue Promis (palais Valbruna) – 11100 Aoste – Italie
Salle Finaosta – From March 16th to April 15th, 2018.

Discover the entire series “Greffes de l’histoire, histoires de griffes”